DOCSLIB.ORG

The Challenges of Opera Direction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Challenges of Opera Direction UNLV Retrospective Theses & Dissertations 1-1-2000 The challenges of opera direction Dean Frederick Lundquist University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Lundquist, Dean Frederick, "The challenges of opera direction" (2000). UNLV Retrospective Theses & Dissertations. 1167. http://dx.doi.org/10.25669/wzqe-ihk0 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substarxfard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps Photographs included in the original manuscript have been reproduced xerographicaily in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE CHALLENGES OF OPERA DIRECTION by Dean Frederick Lundquist Associate o f Arts Ventura Community College 1995 Bachelor o f Arts University of California, Berkeley 1998 A thesis submitted in partial fulfillment of the requirements for the Master of Arts Degree Department of Theatre Arts College of Fine Arts Graduate College University of Nevada, Las Vegas August 2000 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 1401763 Copyright 2000 by Lundquist, Dean Frederick All rights reserved. UMI UMI Microform 1401763 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Art)or, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Copyright by Dean Frederick Lundquist 2000 Ail Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Thesis Approval UND/ The Graduate College University of Nevada, Las Vegas 13 J u ly ■ 2Q00 The Thesis prepared by Dean F. Lundquist Entitled The Challenges of Opera Direction is approved in partial fulfillment of the requirements for the degree of Master of Arts Examination Committee Chair Dean of the Graduate College ïitamination Committee M^ber Exanunatiorr^mmittee Member j Graduate uollege Faculty Representative PR/1017-53. !-(Xi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT The Challenges of Opera Direction by Dean Frederick Lundquist Dr. Julie Jensen, Examination Committee Chair Professor of Theatre University of Nevada, Las Vegas The Challenges o f Opera Direction is an investigation of the art of the opera stage director. In addition to a brief history of opera, the investigation includes opinions of leading international directors. Furthermore it details directing techniques and examples gleaned from the direction of Mozart’s The Impresario (Der Shauspieldirektor) and Donizetti's 77ie Elixir o f Love (L'elisir d'amore) both at UNLV and an assistant directing internship with Seattle Opera's production of Delibes's Lakme. Also included are chapters on the art of collaborating with conductors, designers and performers. 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT....................................................................................................................................... ii ACKNOWLEDGMENTS..............................................................................................................iv INTRODUCTION............................................................................................................................ 1 CHAPTER 1 ...................................................................................................................................... 4 CHAPTER 2 THE ORIGINS OF OPERA ................................................................................. 4 Italian Opera ..........................................................................................................................4 French Opera .........................................................................................................................8 German Opera .....................................................................................................................12 CHAPTER 3 THE ROLE OF THE DIRECTOR................................................................... 17 CHAPTER 4 CONCEPTUALIZATION................................................................................. 25 CHAPTERS THE CONDUCTOR............................................................................................29 CHAPTER 6 COLLABORATION ........................................................................................ 34 Set D esign ...........................................................................................................................34 Lighting ............................................................................................................................... 37 The Choreographer ........................................................................................................... 38 The Assistant Director ......................................................................................................39 Supertitles ...........................................................................................................................40 Costumes .............................................................................................................................41 CHAPTER 7 REHEARSAL......................................................................................................44 The Principal Singers ........................................................................................................44 The Chorus ......................................................................................................................... 48 CHAPTERS 2U‘CENTURY OPERA .....................................................................................52 CHAPTER 9 PERFORMANCE................................................................................................ 56 BIBLIOGRAPHY...........................................................................................................................58 VITA ................................................................................................................................................ 59 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I would like to take this opportunity to acknowledge those who have helped and supported me in the creation of this work. Firstly, my examination board members, Julie Jensen, Davey Marlin-Jones, Mark Thomsen and Joe Aldridge. Additionally, I would like to thank Speight Jenkins of Seattle Opera as well as Stephen Terrell and Paula Podemski as well as the UNLV Graduate Student Association for its support. I'd also like to thank Christopher Herold, my first directing mentor back at UC Berkeley and my father, Gary for his unending support and tireless belief in my ability. IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1 INTRODUCTION "People are wrong when they say opera isn't what it used to be. It is what it used to be. That's what's wrong with it." -Noel Coward, Design for Living, 1933 The opera stage director is a rather new breed of artist. Until the twentieth century, staging opera entailed a stage
Load more

Recommended publications
  • Seattle Opera Announces 2021/22 Season— a Return to Live, In-Person Performances
    FOR IMMEDIATE RELEASE: May 11, 2021 Contact: Gabrielle Gainor (206) 295-0998, [email protected] Press images: https://seattleopera.smugmug.com/2122 Password: “press” Seattle Opera announces 2021/22 season— a return to live, in-person performances La bohème Orpheus and Eurydice Blue The Marriage of Figaro Plus a special recital by Lawrence Brownlee McCaw Hall and The Opera Center Subscriptions begin at $240 (BRAVO! Club, senior, and student pricing is also available). Single tickets will go on sale closer to each production. seattleopera.org SEATTLE—After more than a year without live, in-person performances due to COVID-19, Seattle Opera will officially return to the theater this fall with its 2021/22 Season. Offerings include immortal favorites (La bohème, The Marriage of Figaro), historic works with a modern twist (Orpheus and Eurydice), plus an award-winning piece speaking to racial injustice in America (Blue). It will take years for Seattle Opera—and the arts sector as a whole—to recover from the pandemic’s economic impact. Feeling the presence and excitement of live performance again is one way that the healing can begin, said General Director Christina Scheppelmann. “The theater, where music, storytelling, lights, performers, and audiences meet, is a space of magic and impact,” Scheppelmann said. “This past year has been difficult and challenging on so many levels. As we process all that we’ve been through, we can come here to enjoy ourselves. We can rediscover the positive moment and outlook we are seeking. Through opera, we can reconnect with our deepest emotions and our shared humanity.” In addition to mainstage productions, the company will offer a special, one-night- only recital by tenor Lawrence Brownlee (April 29, 2022, at McCaw Hall) with pianist John Keene.
    [Show full text]
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • Daily Iowan (Iowa City, Iowa), 1969-12-06
    oil Seroirt~ the Uni"efsily of luwo Q/I{i the PeoplB of IOIJ)(J CiLl} Eslablishecf in JUGa 10 cenls 8 copy Associaled Press ),eased Wire and Wirepll(lto Jowa City. Iowa 5~turda)', December e, III6t Civili'ans Join My Lai Probe WASHINGTON IA'I - Two Ne\~ York Maj . Kenneth A. Raby, the young lieute· that there was no basis for disciplining ent Americal Division but went DO hi_ lawyers were assigned Friday to an nant was hustled into the Pentagon and any U.S. soldiers. in the chain of command. Army probe of investigative aspects of down to the Army's secret operatlons That conclusion, according to the Pen· Resor said MacCrate, 48, will be spIO I the alleged My Lai massacre, while the tagon, was reviewed by the unit's par- ial counsel to the Peers Inquiry. only man charged in the case underwent center shortly after noon. Pmtag<ln questioning. Newsmen tried to <l sk Calley questions, ~'irst Lt. William L. Calley Jr ., ac- bllt he lookpd straight ahead and said I cuoed of murdering 109 Vietnamese civ­ nothing. ilians, arrived tight·· lipped at the Penta­ Calley WilS luder of • plaloon Ihll Black Committee gon , where the Army hearing is being went into My Lai as part of I com piny 'st . a held . commanded by Capt. Ernelt Medinl. 1 The Army panel Is seoki ng to learn Medina told reporters Thursday he ne­ sl1 i,. t/ whether field oftic;ers tried to cover up Iny mass killings in their inilial invesli . ither ordered a massacre nor saw or To Be Appoi nted heard of one.
    [Show full text]
  • Programação De Novembro
    PROGRAMAÇÃO DE NOVEMBRO Concerto de Câmara: 9 de novembro, às 18h Concerto Verdi: 15 de novembro, às 21h Concerto 40.º Aniversário OSJ: 16 de novembro, às 21h Exposição Noites em São Carlos : a partir de 21 de novembro Durante o mês de novembro e para além da ópera La fille du Régiment (Donizetti), que estreou ontem, dia 4 (restantes récitas nos dias 6, 8 e 10 de novembro), o Teatro Nacional de São Carlos apresenta nos dias 9 e 15 um concerto de câmara e um concerto coral-sinfónico, com direção musical de Pedro Neves e Rui Pinheiro, respetivamente. No dia 16 de novembro , realiza-se o concerto comemorativo do 40.º aniversário da Orquestra Sinfónica Juvenil que, sob direção de Christopher Bochmann, interpreta obras de Ferdinand Hérold, Christopher Bochmann, Hector Berlioz e Felix Mendelssohn. No dia 21 de novembro , inaugura a exposição Noites em São Carlos , que convida à descoberta do edifício (palco, bastidores, camarins) do TNSC e, simultaneamente, à visita de cenários, figurinos, programas de sala, fotografias e outros elementos documentais relacionados com a vida e obra de Giuseppe Verdi, Richard Wagner, Almada Negreiros e Maurício Bensaúde. A exposição pode ser visitada até 23 de dezembro, todos os dias excepto à quarta- feira, entre as 11h e as 18h. Concerto de Câmara No próximo dia 9, às 18h, o Teatro Nacional de São Carlos encerra o Ciclo de Concertos de Câmara no Salão Nobre, com um programa de obras de Mozart, João de Sousa Carvalho e Lopes-Graça. À semelhança dos concertos realizados nos dias 28 de setembro, 12 e 19 de outubro – sempre com lotação esgotada –, o concerto de dia 9 de novembro assentará na seguinte estrutura: um concerto para sopros, uma ária de concerto de Mozart, uma ária de ópera de um compositor português do mesmo período e uma peça para orquestra de características neoclássicas.
    [Show full text]
  • Broadcasting the Arts: Opera on TV
    Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958).
    [Show full text]
  • Senior Lecture Recital: Lauren Camp
    Kennesaw State University College of the Arts School of Music presents Senior Lecture Recital Lauren Camp Monday, December 8, 2014 7:00 p.m. Music Building Recital Hall Fifty-fourth Concert of the 2014-15 Concert Season program Introduction Thank you The Importance of Vocal Health FRANZ SCHUBERT (1797-1828) An Die Musik Frϋlingsglaube poet Johann Uhland VINCENZO BELLINI (1801-1835) La farfalletta Il fervid desiderio MOSES HOGAN (1957-2003) Somebody’s Knockin’ at Yo’ Door Give Me Jesus Conclusion Questionnaire Thank you This recital is presented in partial fulfillment of requirements for the degree Bachelor of Music in Music Education. Ms. Camp is a student of Alison Mann. program notes Vincenzo Bellini Bellini was a gifted opera composer of the Romantic period. He began composing at the tender age of six and was only thirty-four when he died. During the twenty-eight years of active composition, he was renowned for his vocal works and influenced other composers such as Wagner, Liszt, and Chopin. Along with the compositions of Donizetti and Rossini, Bellini’s vocal music established the bel canto (beautiful singing) style of his era. Simple arpeggiated or block-chord accompaniment figures were typical of bel canto music. The accompaniments were simple and unobtrusive, because the goal was to underscore the vocal prowess of the singer. Bell- ini’s melodies often feature long dynamic phrases, soaring climatic high notes, grace notes, and melismas, which demand great vocal agility and control. Even in this simple, bubbly song La farfalletta (The Little Butterfly), which Bellini composed at the age of twelve for a girlfriend, his bel canto vocal aesthetic is evident.
    [Show full text]
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • J Ohn F. a Ndrews
    J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors.
    [Show full text]
  • Early Opera in Spain and the New World. Chad M
    World Languages and Cultures Books World Languages and Cultures 2013 Transatlantic Arias: Early Opera in Spain and the New World. Chad M. Gasta Iowa State University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/language_books Part of the Spanish Linguistics Commons Recommended Citation Gasta, Chad M., "Transatlantic Arias: Early Opera in Spain and the New World." (2013). World Languages and Cultures Books. 8. https://lib.dr.iastate.edu/language_books/8 This Book is brought to you for free and open access by the World Languages and Cultures at Iowa State University Digital Repository. It has been accepted for inclusion in World Languages and Cultures Books by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. 89_Biblioteca_Aurea.pdf 1 10/27/13 8:16 PM mploying current theories of ideology, propaganda and musical reception, Transatlantic Arias: Transatlantic Arias examines the development Eand impact of early opera in Spain and the Americas Early Opera in Spain through close examination of the New World’s first three extant operas. What emerges is an amazing and the New World C history of extraordinarily complex lyrical and musical works for their time and place, which are M also critical for illuminating inimitable perspectives Y on the cohabitation and collaboration of indigenous Transatlantic Arias Transatlantic CM groups and Europeans. MY CHAD M. GASTA is Associate Professor of Spanish and CY Chair of the Department of World Languages & 89 CMY Cultures at Iowa State University where he also serves as Director of International Studies and K Co-Director of the Languages and Cultures for Professions (LCP) program.
    [Show full text]
  • La Sonnambula 3 Content
    Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1961-1962
    BOSTON SYMPHONY ORCHESTRA. CHARLES MUNCH _* C^ivtk Dirtcier ttr THEATRE-CONCERT HALL — TANGLEWOOD Monday and Tuesday Evenings, August 7 and 8, 1961 The Opera Department and the Orchestra of the BERKSHIRE MUSIC CENTER PRESENT KING THEODORE IN VENICE (II Re Teodoro in Venezia) Opera in two acts and seven scenes Music by Giovanni Paisiello Libretto by Giambattista Casti English version by Arthur Schoep and Boris Goldovsky Conducted by Maurits Sillem Staged by . Boris Goldovsky and Arthur Schoep Settings & Lighting by ... Aristides Gazetas Costumes by Leo Van Witsen lillllllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllll NOTE ON THE TANGLEWOOD PRODUCTION In the present production (which is very likely the first in the western hemisphere) all the orchestrally accompanied numbers will be heard in the original form and in the order given in Paisiello's original manuscript, a microfilm of which could fortunately be obtained from the composer's native city of Naples. The only major change is the substitution of spoken dialogue for the secco recitatives of the original version. The uninspired sequence of harmonies in these recitatives creates a strong suspicion that these sections of the score had been entrusted to one of Paisiello's pupils, a common practice in the eighteenth century when composers were expected to fashion full-length works on extremely short notice. Paisiello's score has many features of extraordinary interest. Especially remarkable are the two extended finales, the one to the first act being a worthy precursor of the great second-act finale of Mozart's The Marriage of Figaro. In this connection it is worth mentioning that Mozart was present at the first performance of King Theodore in Venice in Vienna and was obviously greatly impressed by the work.
    [Show full text]
  • TONI PASSMORE ANDERSON 209 Lincoln Lane Lagrange, GA 30240 (706) 880-8264 [email protected]
    TONI PASSMORE ANDERSON 209 Lincoln Lane LaGrange, GA 30240 (706) 880-8264 [email protected] EDUCATION: Georgia State University, Atlanta, Georgia Ph.D. in Higher Education, 1997 Dissertation Title: “The Fisk Jubilee Singers: Performing Ambassadors for the Survival of an American Treasure, 1871-1878" Courses in Music: Aesthetics of Music, Music Technology, Multicultural Music Education, Reference Materials and Research Methodology in Music New England Conservatory of Music, Boston, Massachusetts M.M. in Vocal Performance, May 1982 Voice with Susan Fisher Clickner; Opera with John Moriarty Lamar University, Beaumont, Texas B.M. in Music Education, May 1979 K-12 Certificate in State of Texas Other: Voice study with Susan Fisher Clickner, Irene Harrower, and Herald Stark; Coaching with Terry Decima, Maestro Rudolf Fellner, John Moriarty, James Gardner, Boris Goldovsky, Douglas Hines, John Douglas, Walter Huff. Vocal Master Classes with Eleanor Steber, Janice Harsanyi, Beverly Wolff. Four years of dance training (ballet, folk, movement for singers, jazz); eight years of private piano study. TEACHING AND ADMINISTRATIVE EXPERIENCE: LaGrange College, LaGrange, Georgia Fall 1999 - Present, Tenured Professor Chair, Music Program Co-Chair, Musical Theatre Program Musical Director/Conductor Courses Taught: Applied Voice; Diction for Singers; Opera Experience; Opera Survey; Music Survey; Interim Term travel experiences Morris Brown College, Atlanta, Georgia 1985-1999, Assistant Professor of Music Program Coordinator/Chair 1991; 1993-96 Tenured
    [Show full text]